Rosa Nagle

Rosa Nagle

I was born in Winthrop, MA. I am the daughter of Italian immigrants. I grew up mostly in Revere, my young childhood in East Boston. I have a BA in English from UMass at Boston.

I am a poet, playwright, and screenwriter. Dramatic writing is my key to uncovering my inner world, my way down the rabbit hole, my looking glass outward. Poetry started my quest to translate inner vision to outer reality...
I was born in Winthrop, MA. I am the daughter of Italian immigrants. I grew up mostly in Revere, my young childhood in East Boston. I have a BA in English from UMass at Boston.

I am a poet, playwright, and screenwriter. Dramatic writing is my key to uncovering my inner world, my way down the rabbit hole, my looking glass outward. Poetry started my quest to translate inner vision to outer reality. From the time I could write, I have been writing poetry, transforming images and color and feeling into a sort of magic. I’ve always felt a sense of magic when creating verse. As a child, I was in love with the magic of sensory perceptions and rhyme, and the mix of concrete and abstract images.

When I became a teenager, that magical process led me to create new worlds, fantastical worlds, for the stage. I cannot pinpoint exactly when I turned to dramatic writing at this time, for it wasn’t a conscious decision. Drama began to envelope me. During my early tinkerings with drama, my brother and I, after school, would gather our friends to our house. I would type out scenes on my Smith Corona. And, every day, our friends would act out my little plays in our living room. Watching, hearing my small plays performed gave me a sense of fulfillment.

Later, when I attended college, I concentrated on poetry and literature. I honed my auditory skills through poetry. As a young adult, I attended Brecht and Bread and Puppet Theatre productions. And, I began reading female playwrights, such as Maria Irene Fornes, Lynn Nottage, and Eve Ensler. I didn’t think about dramatic writing in my younger years, though. Then, I turned 40, and, unexpectedly, my first character, June, appeared to me in an abstract play, ON THE DEATH OF JUNE. I have continued writing experimental theatre, for both indoor stages and site-informed, outdoor spaces, ever since. I have received two grants for my full-length plays. I, then, co-produced both outdoor/interactive plays. I also very recently took screenwriting classes at Gotham Writers in NYC. I have written three short films, and the first, my horror “Viola”, will premiere October, 2022. And, I had a nonfiction article, “I lost over 6 stone-”, published in Metro UK magazine on July 24, 2022.


Plays

  • Ghost Stories
    In this play, a family is telling spooky campfire stories. But, the various stories reveal we are all truly haunted by “ghosts”, in many forms. Our stories bring us together, as well as tear us apart, for, ultimately, there is no scarier story than that of our hidden ghost. My play shifts among different time periods, using the idea of time differently. And, the split stage, where one side, the "campfire...
    In this play, a family is telling spooky campfire stories. But, the various stories reveal we are all truly haunted by “ghosts”, in many forms. Our stories bring us together, as well as tear us apart, for, ultimately, there is no scarier story than that of our hidden ghost. My play shifts among different time periods, using the idea of time differently. And, the split stage, where one side, the "campfire" side, and one side the "story" side, exists, uses space differently.
  • 3
    3 is the story of a woman, Diana, who is a survivor of the Boston Marathon Bombing last year. That event is the catalyst that brings her on a quest for answers about her family, her marriage, her life. Diana's quest reveals a truth that she never expected. She discovers that she does love her husband Andrew, and that her marriage is worth saving. But, as 3 unfolds, Diana finds that, in her life, as in all...
    3 is the story of a woman, Diana, who is a survivor of the Boston Marathon Bombing last year. That event is the catalyst that brings her on a quest for answers about her family, her marriage, her life. Diana's quest reveals a truth that she never expected. She discovers that she does love her husband Andrew, and that her marriage is worth saving. But, as 3 unfolds, Diana finds that, in her life, as in all our lives, there are some answers we never receive. The actions of others are not often explicable. Sometimes, a person's reasons for his behavior does not make sense to anyone but him. Diana's story in 3 is actually presented as three stories woven into one-- Diana's story, her brother Gianni's story, and her parents' story. Our paths always intermingle so that one life never stands alone. In 3, Dad/Giacomo, is a commedia dell'arte actor. He appears as Pagliaccio in the play. I've included a lazzi. 3 combines drama, poetry, and comedy.
  • ON THE DEATH OF JUNE
    Mary, a highly intelligent, hypersensitive woman, along with her childhood friend Louisa, tries to cope with the death of her sister, June. Incapable of facing reality, Mary shuts her husband, Robert, and Louisa, out of her thoughts. Yet, they, too, are grieving the loss of their dear June, for different (and perhaps illicit reasons). Flitting often into her own thoughts and dreams, using Tarot cards and any...
    Mary, a highly intelligent, hypersensitive woman, along with her childhood friend Louisa, tries to cope with the death of her sister, June. Incapable of facing reality, Mary shuts her husband, Robert, and Louisa, out of her thoughts. Yet, they, too, are grieving the loss of their dear June, for different (and perhaps illicit reasons). Flitting often into her own thoughts and dreams, using Tarot cards and any divination possible, Mary fights in vain, and so do those near her, to understand this tragedy. How did June die? No one is sure. What is real? What is a dream? When ARE dreams reality? Try to solve the mystery...if you dare.
  • October
    The year is 1972, Halloween. Fictitious small town Nathansville, Massachusetts, is humming with ghouls and ghosts. An eleven-year-old boy, Charlie, has gone missing. Han, a police captain, is determined to find the missing child. She is haunted by ghosts of other missing children. Are the cases related? How do a wounded soldier, an actress, and a newspaper editor fit into the story? The audience is led through...
    The year is 1972, Halloween. Fictitious small town Nathansville, Massachusetts, is humming with ghouls and ghosts. An eleven-year-old boy, Charlie, has gone missing. Han, a police captain, is determined to find the missing child. She is haunted by ghosts of other missing children. Are the cases related? How do a wounded soldier, an actress, and a newspaper editor fit into the story? The audience is led through a cemetery on two chases, a search for Charlie, and a hunt for the antagonist, in this interactive, immersive, outdoor mystery that weaves a story of guilt, betrayal, and justice.
  • Blood Cake
    Synopsis:

    In my play, Bianca is trying desperately to organize her tapes. She is recounting important incidents which affected her life-- her rape, her family’s abandonment, and, lastly, her account of Sam, “the one who got away”, her one, true love. Bianca feels the weight of her age, 69. She wants to leave her history to her daughter, Louisa, so that Louisa can understand Bianca, who she was,...
    Synopsis:

    In my play, Bianca is trying desperately to organize her tapes. She is recounting important incidents which affected her life-- her rape, her family’s abandonment, and, lastly, her account of Sam, “the one who got away”, her one, true love. Bianca feels the weight of her age, 69. She wants to leave her history to her daughter, Louisa, so that Louisa can understand Bianca, who she was, why she became the woman she is. Though she tries not to concentrate on it, the past is being repeated, in her own family. Bianca senses this, and we are shown this. Bianca’s daughter, Louisa, has distanced herself from Bianca. Louisa, a single mom, her own “true love” having abandoned her, holds a grudge against Bianca and husband Salvatore for raising her son Steven, years ago. Can Bianca mend her relationship with Louisa? Is it possible? Is it too late?
  • 1,2, 3 Theatre
    I believe that American theater is not inclusive. I am writing for change. I am concentrating on writing plays that feature characters with disabilities. I wrote one such short play that was part of a festival. I have now completed the first draft of this full-length play, 1, 2, 3 Theatre. 1, 2, 3 Theatre follows the story of three misfits, Paul, an actor with Down Syndrome, his best friend, Heather, and his...
    I believe that American theater is not inclusive. I am writing for change. I am concentrating on writing plays that feature characters with disabilities. I wrote one such short play that was part of a festival. I have now completed the first draft of this full-length play, 1, 2, 3 Theatre. 1, 2, 3 Theatre follows the story of three misfits, Paul, an actor with Down Syndrome, his best friend, Heather, and his sister Azul. Paul cannot find work as a stage actor due to his disability. Heather and Azul are excluded from their fields, also. The three band together, and start their own theater company. Along the way, they explore hidden hurts, and share their love, loss, and desires with their audience. Isn't that what theater is all about? For 1, 2, 3 Theatre, the character Paul must be played by an actor with a disability.
  • A New Century
    A short, political piece that explores American attitudes toward immigration. Every new century sounds like the one before it.
  • Tangles In Your Teeth
    It's Thanksgiving. Julia is doing her best to deal with her husband Sam's infidelity, "passion, fury, middle-age decay", as she calls it. Along with inner turmoil, Julia has to deal with her family: Amelia, the patriarch who firmly believes in the family folklore than she and her children are descended from werewolves, originating with 19th-century Leonora DiNapoli; Julia's brother,...
    It's Thanksgiving. Julia is doing her best to deal with her husband Sam's infidelity, "passion, fury, middle-age decay", as she calls it. Along with inner turmoil, Julia has to deal with her family: Amelia, the patriarch who firmly believes in the family folklore than she and her children are descended from werewolves, originating with 19th-century Leonora DiNapoli; Julia's brother, Chuck, an exterminator who continually has existential experiences; and her son, Happy, who is serious, somber, and, perhaps, the non-definition of "happy". This play was inspired by Shakespeare’s play A Midsummer Night’s Dream. My character Julia, and cheating husband Sam, allude to Helena and Demetrius. My play is meant to be interactive, the audience joining the story for two scenes. It is written for an outdoor setting, and is easily adaptable for indoors.